Foley Gallery is pleased to present Document\, an exhibition chronicling a twelve-year project by iconic photographer
Henry Leutwyler. This will be the artist&rsquo\;s thir
d exhibition with the gallery.

\n

Document will feature a variety
of possessions removed from their environment and intimately photographed
as artifacts or bookmarks of our own understanding of American History. Rep
resenting icons of music\, sports\, politics and Hollywood\, these still-li
fe portraits invite the viewer to explore and perhaps better understand the
owners to which the items once belonged.

\n

These previously owned ob
jects directly or indirectly associate themselves to the person or to a par
ticular time in our own history. Some are tools of the trade\, others are m
ore common and mundane\; a glove worn by Michael Jackson\, a guitar that on
ce belonged to Prince\, Jack Ruby&rsquo\;s handgun and a key that turned th
e lock of James Dean&rsquo\;s door at the Iroquois Hotel. All stoic images\
, now endowed with new meaning and emotion once their owners are identified
. This revelation raises their status and comes to signify events or entire
lives of those that we remember so well as being pioneers\, great achiever
s or simply dark and notorious for the actions they took during their lifet
ime.

\n

The Document exhibition follows Leutwyler&rsquo\;s third publi
cation with Steidl. The October 2016 release of the book (bearing the same
name) will include 208 pages and 123 color images that cover Leutwyler&rsqu
o\;s extensive career.

\n

Leutwyler was born in Switzerland in 1961. B
efore settling in New York City\, He lived in Paris for ten years\, and beg
an photographing the Ballet Bejart Dance Company. He travelled extensively
with the company before focusing on theater and the arts. Leutwyler&rsquo\;
s past subjects include Michelle Obama\, Julia Roberts\, Tom Wolfe\, Beyonc
&eacute\; Knowles\, Martin Scorsese\, and Spike Lee. His work has been feat
ured in the New York Times Magazine\, Portfolio\, Esquire\, Vogue\, Vanity
Fair\, The New Yorker\, and Time. His works have earned him the ASME 2008 M
agazine Cover of the Year Award and Graphis Magazine 2008 Photographer of t
he Year.

\n

Document will remain on view through January 8th\, 2017. F
oley Gallery is open Wednesday through Saturday\, 11 &ndash\; 6pm\, Sunday
12 - 6. To request images\, please contact the gallery at 212.244.9081 or i
nfo@foleygallery.com

Anton Kern Gallery is turning
twenty and we celebrate this anniversary with Implosion 20\, a gro
up exhibition featuring the work of all 27 artists on roster\, as well as w
orks by artists who have shown previously or have had a personal connection
to the gallery. In addition\, we will present a series of events\, kicking
off with a special &lsquo\;lecture&rsquo\; performed by John Bock. The exh
ibition will mark the last show at this location before we move to Midtown
Manhattan.

\n\n

The show is based around
the concept of implosion\, not as a destructive force but as a ce
ntering force and act of integration. From its inception 1996\, the gallery
has grown organically out of the dialogue between Anton and our core roste
r of artists. This exhibition is to pay tribute to those who have shaped th
e gallery&rsquo\;s trajectory and have made the gallery what it is today: a
space of confluence for various media and artists of different backgrounds
and locales.

\n\n

Implosion 20
will juxtapose new works with historic pieces that became milestones in th
e gallery&rsquo\;s history. A video recording of Angus Fairhurst&rsquo\;s l
ive performance (with Phillip Bradshaw\, Cerith Wyn Evans and Matt Collisha
w) from his two-person show with Lothar Hempel\, Low Expectations\, commemo
rates the gallery&rsquo\;s opening on September 19\, 1996. The concert esta
blished the enduring interest in the intersection between visual art and mu
sic that defines the gallery and many of its participants.

\n\n

During the opening reception on November 10th\, Joh
n Bock will give a lecture-performance. As the first artist to exhibit at t
he 532 West 20th Street space\, it is appropriate that he mark the closing
of the space with an enactment of his piece\, Dünnh&auml\;utiger Butch
er (Thin-skinned Butcher)\, a work in which Bock creates small clay po
rtraits of members of the audience that he will give away. Accompanying the
exhibition will be a weekly program of performances taking place in the ga
llery every Saturday afternoon with live music\, poetry readings and other
works by the gallery artists and their network of friends.

\n\n

A zine on Implosion 20 and the gallery&rsquo\;s his
tory\, featuring an essay by Bob Nickas\, will be available on the occasion
.

Casey Kaplan is pleased to announ
ce&nbsp\;Trade Winds\, our first solo exhibition with Hugh Scott-D
ouglas\, featuring a new series of UV cured inkjet and resin printed canvas
es and a recent digital video work. Scott-Douglas works from a studio space
in the Brooklyn Navy Yard\, an urban industrial park with a long varied hi
story of changing roles ranging from naval shipyard to film studio lot. Ref
lecting on this environment\, he began researching the global shipping trad
e and found a mapping software able to track all thoroughfare of sea transp
ort. Utilizing the capabilities of the program in a manner different from t
he software&rsquo\;s intent\, Scott-Douglas isolates the environmental cond
itions in each location &ndash\; which appear as real-time graphemes of lin
es\, arrows\, and triangles &ndash\; by removing all of the boats from the
water. Specific to current\, wind\, and wave directions\, these symbols are
mapping the shifting conditions of the various trade routes\, and become t
he basis of his artworks in layers of printed ink and resin.

\n

Throughout Scott-Douglas&rsquo\;s practice are moti
fs concerning an interest in systems of value\, and the deconstruction of p
rotocols and symbols. This can be seen in his previous series\, such as:&nb
sp\;Chopped Bills&nbsp\;and&nbsp\;Torn Cheques&nbsp\;(201
3-2014)\, his folded billboard sculptures (2014) and a set of prints derive
d from the interior workings of watches in 2015. With his latest body of wo
rk\, Scott-Douglas approaches similar queries.

\n

Guided by a composite image of a thousand global satellites\, eac
h composition is an abstraction representing a different commercial shippin
g route. The individual artwork&rsquo\;s titles\, such as&nbsp\;Bossa N
ova&nbsp\;(a journey from Salvador\, Brazil to Tangier\, Morocco) refe
r to the names of these naval thoroughfares. The artworks are created by zo
oming in on a specific oceanic area and removing the naval vessels from the
coded mapping system. In a multi-phase process\, the artist creates aerial
maps with their own individual color schemes. Then with the aid of an indu
strial printer\, a process akin to silkscreening is employed to render each
image in its layers where current\, wind\, and wave directions are frozen\
, one on top of the next\, as if time has collapsed into a perpetual presen
t.

\n

Alongside the canvas prints\, Scot
t-Douglas presents&nbsp\;Shudder\, a 2-minute looped\, digital vid
eo that considers the measurement of an amorphous form\, air. With a camera
attached on top of an air compressor and aimed at the artist&rsquo\;s stud
io floor\, the compressor is activated and begins to shake aggressively\, c
reating wild gestures within the frame. Filmed also from an aerial perspect
ive\, what is experienced is the compressor filling with air in order to re
ach full pressure. When the compressor reaches its capacity and stops intak
ing air\, the camera for a moment becomes still. In those few final seconds
\, the viewer can clearly see Scott-Douglas&rsquo\; studio floor before the
cycle repeats and the image becomes amorphous again. From hypnotic blur to
splattered studio floor\, the video documents the transition of nebulous a
ir into controlled and measured units and imparts a tangibility to that whi
ch often goes unnoticed.

Cheim &amp
\; Read is pleased to announce Joan Mitchell: Drawing into Painting\, a sur
vey of works on canvas and paper from 1958 through 1992\, the year of the a
rtist&rsquo\;s death. The exhibition\, which will open on October 27\, 2016
\, and run through December 31\, will be accompanied by a catalogue featuri
ng an essay by Mark Rosenthal.

\n

For Mi
tchell\, drawing and painting were related but autonomous activities. Her p
astels can be as dense as oil paintings\, and her oil paintings can be as l
ight and airy as watercolors. The exhibition includes art from each decade
of her career\, with a formal range spanning flurried strokes and gestural
lines of rhapsodic color\, to darkly massed forms and complex\, multi-panel
formats. Featured among the large works in oil on canvas are the ravishing
diptych &ldquo\;Heel\, Sit\, Stay&rdquo\; (1977) and the turbulent &ldquo\
;La Grande Vall&eacute\;e XVI Pour Iva&rdquo\; (1983)\, painted in high con
trasts of indigo\, violet\, lemon and lime.

\n

Mitchell&rsquo\;s move to France in 1959\, as Rosenthal writes in hi
s essay\, &ldquo\;suggests an aesthetic choice whereby she submerged Americ
an artistic developments within a profound embrace of French Impressionism.
&rdquo\; This decision represented a significant departure from the influen
ces and goals of her colleagues in the New York School\, and harked back to
her student days at the School of the Art Institute of Chicago\, where she
was &ldquo\;enthusiastically [&hellip\;] engaged with Modernist French art
\, from &Eacute\;douard Manet to Henri Matisse.&rdquo\;

\n

The hedonistic color and vibrant light that characterize
s Mitchell&rsquo\;s work\, especially the paintings she made after settling
in V&eacute\;theuil\, a village on the Seine near Giverny\, significantly
expanded the formal vocabulary of Abstract Expressionism. As Rosenthal note
s\, Mitchell &ldquo\;evolved the New York School style by adding finesse to
its gritty character and cultural awareness to its American outlook.&rdquo
\;

\n

The sweep and complexity of Mitche
ll&rsquo\;s painterly language is built on an armature of drawing\, whether
it&rsquo\;s a feverish tangle of colored pencil lines or a series of loose
ly demarcated partitions dancing across a seven-panel pastel. Whatever its
approach\, each work in the exhibition embodies a unique consideration of c
olor\, gesture and structure\, and a deeply felt understanding of the expre
ssive potential of the graphic mark.

\n

Joan Mitchell was born in 1925 in Chicago\, and spent half her life
in France\, where she died in 1992. In 1951\, her work was exhibited alongs
ide that of Jackson Pollock\, Willem de Kooning and Hans Hoffman in the cel
ebrated &ldquo\;Ninth Street Show\,&rdquo\; which marked the ascendancy of
Abstract Expressionism within the development of modern art. Mitchell has s
ince been the subject of numerous museum exhibitions\, and examples of her
work hang in nearly every major public collection of modern art\, including
the Art Institute of Chicago\; Centre Georges Pompidou\, Paris\; the Gugge
nheim Museum\; the Museum of Contemporary Art\, Sydney\, Australia\; the Mu
seum of Modern Art\, New York\; the Osaka City Art Museum of Modern Art\, J
apan\; the Samsung Museum\, Seoul\; the Tate Gallery\, London and the Whitn
ey Museum of American Art\, New York.

\n

Mitchell&rsquo\;s work is also featured in several current and upcoming hi
storical surveys: Woman of Abstract Expressionism at the Denver Art Museum
through Sep 25\, 2016\; Abstract Expressionism\, a touring exhibition at th
e Royal Academy of Arts\, London\, September 24\, 2016 &ndash\; January 2\,
2017\, and the Guggenheim Museum Bilbao\, February 3 &ndash\; June 4\, 201
7\; and Approaching American Abstraction at the San Francisco Museum of Mod
ern Art\, May 14\, 2016-ongoing.

CUE Art Foundation is pleased to announce a solo exhibition of new sc
ulptural works and a large-scale installation by Christina P. Day. The work
s in Stills and Composites were created in response to recently di
scovered video footage from the wedding anniversary celebration of Day&rsqu
o\;s great aunt and uncle in 1983. A home video camera was situated in the
corner of the dance floor of the VFW hall\, where guests repeatedly bumped
into it. At times\, the camera was pointed at the ceiling\, or the back of
a partygoer&rsquo\;s head. The resulting film is a fragmentary\, unobstruct
ed recording of time. For her exhibition\, Day employs found materials and
architectural constructions to explore this mise-en-sc&egrave\;ne&mdash\;re
staging the video from different perspectives.

\n

For the installation Playbacks #1-5\, Day extracted audi
o from the video\, which plays on a row of five vintage Pioneer Mimmy headp
hones. The disembodied sound of an entertainer playing love songs on a Casi
o keyboard echoes through the headphones\, as if just on the other side of
the wall. Day&rsquo\;s wall-mounted piece Cascade (One&rsquo\;s one and
only) was inspired by the corsages and boutonni&egrave\;res of the gu
ests in the video\, and fashioned from the vinyl of a found seat cover. Tra
nsparent and yellowed with age\, the hand-stitched flowers cast a warm glow
on the gallery wall.

\n

The large-scale
installation The light I&rsquo\;ll be (1983) is central to the ex
hibition. Composed of a white-walled cube\, each side is interrupted by an
impassable opening that offers a tantalizing view into the interior. Day ha
s constructed a maze of walls and surfaces inside the cube\, collapsing and
manipulating the viewer&rsquo\;s perspective. Curator Cecilia Alemani note
s: &ldquo\;Day&rsquo\;s complex installations seem to also evoke a specific
temporality\, which proceeds with ruptures and hiatuses instead of being l
inear. Similar to Gordon Matta-Clark&rsquo\;s practice of physically alteri
ng spaces and places\, Day&rsquo\;s artistic vocabularies challenge the sen
se of history and evoke a vertigo of displacement\, both physical and tempo
ral. It is a matter of a temporal tension between form and its deconstructi
on\, between wholeness and the fragment. Day&rsquo\;s works vacillate betwe
en inside and outside: they are fragments of an architectural environment t
hat appear like slices cut out from buildings. Looking at these structures\
, it is difficult to say whether they are in the process of being built\, i
f they are the structural parts of a more complete work\, or if they are wh
at remains of an old family memory.&rdquo\;

\n

Christina P. Day lives and works i
n Philadelphia\, PA. She earned a BFA from the University of the Arts\, and
an MFA from the Cranbrook Academy of Art. Her work has been exhibited at t
he Philadelphia Sculpture Gym\, the Hongik Museum of Art (Seoul\, Korea)\,
the Philip and Muriel Berman Museum of Art (Collegeville\, PA)\, NAPOLEON (
Philadelphia\, PA)\, the Artist-Run project at the Satellite Show (Miami\,
FL)\, the Philadelphia Art Alliance\, and the Woodmere Art Museum (Philadel
phia\, PA). She has held residencies at Sculpture Space\, the Vermont Studi
o Center\, the Haystack Mountain School of Craft\, and RAIR (Recycled Artis
t in Residency). She is a former member of the NAPOLEON artist collective o
f Philadelphia (2012-2016). She teaches in the Crafts/Fiber Program at the
University of the Arts (Philadelphia\, PA) and is a Professor of Fiber at t
he Maryland Institute College of Art (Baltimore\, MD).

\n

This exhibition is a winning selection from the 2015-16 O
pen Call for Solo Exhibitions. The proposal was unanimously selected by a j
ury comprised of panelists Cecilia Alemani\, Donald R. Mul
len\, Jr. Director &amp\; Chief Curator of High Line Art\;&nbsp\;Re
naud Proch\, Executive Director of Independent Curators Internatio
nal (ICI)\; and Rujeko Hockley\, Assistant Curator of Cont
emporary Art at the Brooklyn Museum. In line with CUE&rsquo\;s commitment t
o providing substantive professional development opportunities\, panelists
also serve as mentors to the exhibiting artists\, providing support through
out the process of developing the exhibition. We are honored to work with p
anelist Cecilia Alemani as the Curator-Mentor for this exhibition.

David Zwirner is pleased to pr
esent an exhibition of new sculptures by Carol Bove\, marking her first sho
w with the gallery in New York. Spanning two adjacent spaces on 525 and 533
West 19th&nbsp\;Street in Chelsea\, Polka Dots follows the artist
&rsquo\;s 2015 exhibition at David Zwirner&rsquo\;s London location.

\n

Bove is known for her assemblages that com
bine found and made elements. Incorporating a wide range of domestic\, indu
strial\, and natural objects\, her sculptures\, paintings\, and prints reve
al the poetry of their materials. As the art historian Johanna Burton notes
in the catalogue accompanying this exhibition\, &ldquo\;Bove brings things
together not to nudge associative impulses into free play driven by the un
conscious\, but rather to conjure a kind of affective tangle that disrupts
any singular\, historical narrative.&rdquo\;1

\n

The exhibition presents a new series of large-scale &l
dquo\;collage sculptures&rdquo\; that mark a departure within the artist&rs
quo\;s practice. To create these abstract assemblages\, which merge various
types of sculptural processes from her earlier works and references to art
historical precedents\, Bove combines three different types of steel. Six-
inch square steel tubing that has been crushed and shaped at her studio is
arranged with found scrap metals and punctuated by shallow\, highly polishe
d discs. The compositions are either fully or partially painted using a pal
ette of bright colors evocative of Willem de Kooning&rsquo\;s painting
Woman and Bicycle (1952-1953).

\n

Despite their heavy materiality\, the sculptures appear lightweight\, flexi
ble\, and improvisational. Their alternating surfaces create a play of text
ures&mdash\;while the painted steel resembles clay or fabric\, the overall
forms evoke complex references that go beyond their stylistic appearances.
The contorted shapes vaguely recall Anthony Caro&rsquo\;s bolted and welded
forms\, John Chamberlain&rsquo\;s crushed sculptures\, Mark di Suvero&rsqu
o\;s abstract expressionist configurations\, and Louise Nevelson&rsquo\;s a
ccumulated assemblages\, just as they can be seen to incorporate the collag
ist aesthetic of the Chicago Imagists of the 1960s\, who combined disparate
art historical styles and techniques.&nbsp\;In Daphne and Apollo&
mdash\;a tight arrangement of solid red steel tubing wrapped around large p
ieces of found steel from a scrapyard&mdash\;one material seems to morph in
to another with an allusion of movement similar to the Baroque sculpture of
the same title by Bernini.

\n

The new
body of work is on view in both galleries along with other sculptures by th
e artist. In the first space\, a large\, white &ldquo\;glyph&rdquo\;&mdash\
;part of an ongoing series of flawlessly glossy\, looping steel sculptures&
mdash\;is positioned on the floor ahead of three collage sculptures arrange
d on a broad\, low pedestal. The adjacent gallery presents a configuration
of the new sculptures\, a glyph\, and a large-scale\, square steel grid. Th
e latter acts as a kind of viewfinder into the room\, which is painted a un
iform matte black. The structure provides a shifting frame of the show\, pi
ctorializing relationships between the works and the viewer.

\n

The exhibition is accompanied by a catalogue desig
ned by Joseph Logan in close collaboration with Bove. Published by David Zw
irner Books\, it features new scholarship by Johanna Burton and photography
by Andreas Laszlo Konrath taken over the course of multiple visits to the
artist&rsquo\;s Brooklyn studio. The publication explores both the process
and the finished work\, offering a behind-the-scenes look into Bove&rsquo\;
s practice.

\n

&nbsp\;

\n

Born in 1971 in Geneva to American parents\,
Carol Bove was raised in Berkeley\, California and studied at New
York University. She joined David Zwirner in 2011 and in 2015\,&nbsp\;T
he Plastic Unit&nbsp\;marked her first solo exhibition at the gallery&
rsquo\;s London location.

\n

Bove&rsquo
\;s large-scale sculptures are often exhibited outdoors and in public space
s. Most recently\, the artist&rsquo\;s steel-beam sculpture\,&nbsp\;Lin
gam\, was installed in City Hall Park in New York as part of the 2016
summer group exhibition\,&nbsp\;The Language of Things\, organized
by Public Art Fund. In 2013\, she created a series of sculptures specially
for the High Line at the Rail Yards in New York. The project\, entitled&nb
sp\;Caterpillar\, was commissioned by High Line Art and ran throug
h 2014.

\n

Her work has been the subjec
t of solo exhibitions at prominent institutions that include The Museum of
Modern Art\, New York\; The Common Guild\, Glasgow (all 2013)\; Palais de T
okyo\, Paris (2010)\; Horticultural Society of New York (2009)\; Blanton Mu
seum of Art\,&nbsp\;The University of Texas at Austin&nbsp\;(2006)\; Kunsth
alle Zürich\; Institute of Contemporary Art\, Boston (both 2004)\; and Kun
stverein Hamburg (2003). Major group exhibitions include Documenta 13\, Kas
sel\, Germany (2012)\; 54th Venice Biennale (2011)\; and the Whitney Bienni
al\, Whitney Museum of American Art\, New York (2008).

\n

In 2014\, Bove debuted a new body of work alongside exhi
bition designs and sculptures by Italian architect Carlo Scarpa.&nbsp\;
Carol Bove/Carlo Scarpa&nbsp\;was curated by the Henry Moore Institute
in Leeds\, England and produced in collaboration with Museion\, Bolzano\,
Italy and Museum Dhondt-Dhaenens\, Deurle\, Belgium. The show was first hos
ted by Museion (November 2014 &ndash\; March 2015)\, followed by the Henry
Moore Institute (April &ndash\; July 2015) and Museum Dhondt-Dhaenens (Octo
ber 2015 &ndash\; January 2016).

\n

Bet
ween 2009 and 2013\,&nbsp\;Bove was a clinical associate professor of studi
o art in Steinhardt&rsquo\;s Department of Art and Art Professions at New Y
ork University.

\n

Work by the artist i
s represented in permanent collections worldwide\, including the Fonds R&ea
cute\;gional d&rsquo\;Art Contemporain (FRAC) Nord-Pas de Calais\, Dunkerqu
e\, France\; Institute of Contemporary Art\, Boston\; The Museum of Modern
Art\, New York\; Princeton University Art Museum\, New Jersey\; Wadsworth A
theneum Museum of Art\, Hartford\, Connecticut\; Whitney Museum of American
Art\, New York\; and the Yale University Art Gallery\, New Haven\, Connect
icut. She lives and works in Brooklyn\, New York.

\n

&nbsp\;

\n

Johanna
Burton is the Keith Haring Director and Curator of Education and P
ublic Engagement at the New Museum\, New York. Her writing has appeared in
journals and publications\, including&nbsp\;Artforum\,&nbsp\;P
arkett\,&nbsp\;October\, and&nbsp\;Texte zur Kunst.<
/p>\n

Foxy Production is pleased to present Gabriel Hartley&rsquo\;
s&nbsp\;Reliefs\, a new series of paintings\, reliefs\, and studie
s on paper. Hartley is concerned with the many ways a painted image can be
interpreted\; as Jean-Fran&ccedil\;ois Lyotard has written: &rdquo\;Paintin
g has little to do with the&nbsp\;visible and much to do with the past and
future\, memory and the possible\, acknowledgement and estrangement.&rdquo\
; Formal elements &ndash\; texture\, depth\, color\, and line &ndash\; over
ride the integrity of images of the city and body to allow the viewer multi
ple points of connection. Tapping into the history of&nbsp\;modernist rende
rings of objects and figures\, he transforms the pictorial plane into a med
itation on perception.

Gladstone Gallery\, in collaboration with Fondazione Merz\, is pleased t
o present an exhibition of historic early works by Mario Merz. A leading me
mber of Italy&rsquo\;s Arte Povera movement of the 1960s and 70s\, Merz cre
ated paintings\, sculptures\, and installations with an aim to oppose a mon
olithic culture and to celebrate perplexity. This goal manifested itself in
the artist&rsquo\;s deviation from the mass-media iconography popularized
by Pop Art\, the mythic emotionalism of Abstract Expressionism\, and the ma
chismo detachment of Minimalism. Instead\, Merz and his Arte Povera contemp
oraries &ndash\; such as Alighiero e Boetti\, Luciano Fabro\, and Jannis Ko
unellis\, among others &ndash\; employed simple\, everyday materials and pe
rceptive references to nature in order to ground their art in a relatable e
xistential ambiguity.

\n

The three seminal works on view in this exhib
ition exemplify this stratagem. Giap Igloo &ndash\; If the Enemy Masses
His Forces\, He Looses Ground: If He Scatters\, He Loses Strength (19
68) represents a body of work that became an enduring motif throughout Merz
&rsquo\;s career\, since he began making igloo sculptures in 1967. Using th
e exterior world to create an interior space\, igloos encapsulate Merz&rsqu
o\;s drive to utilize social tradition as a means for individual reflection
. At once a freestanding structure\, this hemisphere is rendered meaningles
s without an inhabitant to provide utilitarian import. The instillation of
subjective weight onto the objective form of the igloo is underscored by th
e neon words circumscribing the dome. A quotation from General Vo Nguyen Gi
ap of the Vietnamese National Liberation Front describing the double-bind o
f combat strategy\, the glowing letters provide a visual tension to the cra
cking clay exterior\, while highlighting the artist&rsquo\;s fascination wi
th social mores &ndash\; in this case\, military and political custom.

\
n

Further showcasing Merz&rsquo\;s interest in exploring a collective con
science through prosaic media is his boxlike sculpture\, Sitin (19
68). The title of the work invokes the physical act of using one&rsquo\;s b
ody to occupy space &ndash\; a fact emphasized by the position of the sculp
ture on the gallery&rsquo\;s floor &ndash\; and also points to the global e
scalation of political protests in 1968\, of which the sit-in was an often-
used technique. Through this gesture\, Merz emphasizes the social significa
nce of sitting as individual stance and collective action.

\n

The larg
e-scale installation\, La bottiglia di Leyda (Leyden Jar)\, provid
es a visual culmination of Merz&rsquo\;s Arte Povera endeavors: physical sp
ace is redefined as both deeply personal and simultaneously universal throu
gh the use of common materials. With wire mesh covering every wall of the g
allery\, Merz invites viewers into a communal environment that proudly inco
rporates the natural world\, all while neon lights spell out the Fibonacci
sequence. A remarkable numeric sequence that seems to exist throughout natu
re (from pinecones to snail shells)\, the Fibonacci numbers in this work st
ress a belief that\, even though the world around us is sometimes inexplica
ble and chaotic\, there is an order uniting us all.

\n

Mario Merz was
born in 1925 and died in 2003 in Milan\, Italy. He was awarded the Praemium
Imperiale\, Tokyo\; the Oskar Kokoschka Prize\, Vienna\; and the Arnold Bo
de Prize\, Kassel. Merz was the subject of numerous solo exhibitions at ins
titutions around the world\, including Funda&ccedil\;&atilde\;o de Serralve
s\, Porto\; Welhelm Lehmbruck Museum\, Duisberg\; Fundaci&oacute\;n Antoni
T&agrave\;pies\, Barcelona\; and Solomon R. Guggenheim Museum\, New York. H
is work is included in many prominent public collections\, including Centre
Georges Pompidou\, Paris\; Hirshhorn Museum and Sculpture Garden\, Washing
ton D.C.\; The Museum of Modern Art\, New York\; Stedelijk Museum\, Amsterd
am\; Walker Art Center\, Minneapolis\; and the Art Institute of Chicago\, a
mong many others. The Fondazione Merz in Turin\, Italy\, regularly displays
both the works of its namesake and sponsors exhibitions by living artists.

Opening reception for the exhi
bition:&nbsp\;Saturday\, October 29th\, 2-4pm&nbsp\;at 513 West 20th&nbsp\;
Street and 524 West 24th&nbsp\;Street.&nbsp\;

\n

Jack Shainman Gallery&nbsp\;is pleased to announce&nbsp\;Carrie Ma
e Weems&rsquo\;&nbsp\;first solo exhibition in New York City since the hist
oric retrospective at the Guggenheim in 2014. Her influential career contin
ues to address the rifts caused by race\, class\, and gender via imagery an
d text that is both sharply direct and beautifully poetic. This two-part ex
hibition highlights her recent investigations into performance\, entertainm
ent\, and history.&nbsp\;

\n

Blue No
tes&nbsp\;(2014) and&nbsp\;An Essay on Equivalents\, See&hellip\;&
nbsp\;(2011-2015) highlight figures on the periphery\, bringing them f
ront and center. The photographic series are paired with the enigmatic vide
o installation&nbsp\;Lincoln\, Lonnie\, and Me&nbsp\;(2012)\, orig
inally commissioned by the Mattress Factory\, Pittsburgh\, PA. The work res
ts on a 19th&nbsp\;century optical trick\, &ldquo\;Pepper&rsquo\;s ghost\,&
rdquo\; in which a strategically lit pane of glass reflects people and obje
cts as dematerialized versions on stage. Weems employs this phantasmagoria
to examine her own relationship to history and two individuals in particula
r: the 16th&nbsp\;president of the United States and artist/activist Lonnie
Graham\, her sometime collaborator. Here history becomes theater\, a succe
ssion of ghostly projections that draw us in to the strange ways in which r
epresentation seduces and manipulates\, and how some are left out of histor
y altogether\, their apparitions left to haunt the expanses of Western cult
ure.&nbsp\;

\n

The theme of performance
continues with&nbsp\;Scenes &amp\; Take&nbsp\;(2016). Weems dons h
er black-robed muse persona&mdash\;recognizable from the now iconic&nbsp\;<
em>Roaming&nbsp\;and&nbsp\;Museums&nbsp\;series&mdash\;to sta
nd before empty stage sets\, documenting these encounters with vivid color
photographs. The contemplative pose of the artist raises issues of who gets
to be shown on screen\; what do the fictional characters in television\, t
heater\, cinema\, and visual art say about the cultural climate in which th
ey are created\, and how do these representations shift across time?&nbsp\;

\n

All the Boys&nbsp\;(2016) r
esponds to the recent killings of young African American men and suggests a
darker reality of identity construction. Portraits of black men in hooded
sweatshirts are matched with text panels. The written descriptions evoke po
lice reports\, underscoring how a demographic is all-too-often targeted and
presumed guilty by a system plagued with prejudice.&nbsp\;

\n

Taken as a whole\, the exhibition demonstrates that
visual representation is ultimately performance: a tightly composed\, labor
ious narrative. It takes serious work to unravel and refocus the greater di
alogue toward inclusivity and acceptance. To look closely&mdash\;past the b
right lights\, illusions\, and constructions&mdash\;is the first\, crucial
step.&nbsp\;

\n

Weems has participated i
n numerous solo and group exhibitions at major national and international m
useums including The Metropolitan Museum of Art\, New York\; Frist Center f
or Visual Art\, Nashville\; The Cleveland Museum of Art\; Solomon R. Guggen
heim Museum\, New York\; Prospect.3 New Orleans\; The Walker Art Center\, M
inneapolis\; and the Centro Andaluz de Arte Contempor&aacute\;neo in Sevill
e\, Spain. A solo exhibition\,&nbsp\;Carrie Mae Weems: I once knew a gi
rl&hellip\;\, is currently on view through January 7\, 2017 at the Eth
elbert Cooper Gallery of African &amp\; African American Art at Harvard Uni
versity. Her work is also part of&nbsp\;Southern Accent: Seeking the Am
erican South in Contemporary Art&nbsp\;at Nasher Museum of Art\, Duke
University through January 8\, 2017.&nbsp\;

\n

Weems has received a multitude of awards\, grants\, and fellowships
including Anderson Ranch Arts Center&rsquo\;s National Artist Award\; The A
rt of Change Ford Foundation Fellowship\; the W.E.B. Du Bois Medal\; the Ma
cArthur &ldquo\;Genius&rdquo\; grant\; US Department of State&rsquo\;s Meda
ls of Arts\; Anonymous Was A Woman Award\; Joseph H. Hazen Rome Prize Fello
wship from the American Academy in Rome\; The Herb Alpert Award in the Arts
\; the National Endowment of the Arts\; and the Louis Comfort TIfffany Awar
d\; among many others.

\n

She is represe
nted in public and private collections around the world\, including the Met
ropolitan Museum of Art\, New York\; the Museum of Fine Arts\, Houston\; th
e Museum of Modern Art\, New York\; Tate Modern\, London\; Whitney Museum o
f American Art\, New York\; National Gallery of Canada\; and Museum of Cont
emporary Art\, Los Angeles.

Jeff Bailey Gallery is pleased
to present new drawings and sculpture by Amy Pleasant.

\n\n

Leaning. Lying. Sitting. Slouching. T
he everyday body arranges itself automatically to be comfortable\, to sleep
\, to interact\, to arouse\, to pose.

\n\n

In ink and gouache on paper\, Pleasant fluidly captures these fleeting m
oments\, distilling them into clean black silhouettes.&nbsp\;As a group the
y are complemented by two sculptures\, each made of curved planes in black\
, white\, or grey. Viewed from changing angles\, they suggest heads turning
or at rest.

\n\n

This is Pleasant&rsquo
\;s (born 1972\, Birmingham\, AL) sixth solo exhibition with the gallery. O
ther solo exhibitions include the Birmingham Museum of Art\, AL\; Atlanta C
ontemporary\, GA\; Clough-Hanson Gallery\, Rhodes College\, Memphis\, TN. G
roup exhibitions include The Weatherspoon Art Museum\, NC\; The National Mu
seum of Women in the Arts\; Columbus Museum of Art\, GA\; Hunter Museum of
American Art\, Chattanooga\, TN\; Southeastern Center for Contemporary Art\
, NC\; the Art in Embassies Program\; the University of Arkansas\, Fayettev
ille\, AR\; and the Zuckerman Museum of Art\, Kennesaw\, GA.&nbsp\; Pleasan
t received her BFA from The School of the Art Institute of Chicago (1994) a
nd MFA from the Tyler School of Art\, PA (1999).&nbsp\; She lives and works
in Birmingham\, Alabama.

Jeff Bailey Gallery is pleased
to present new paintings and works on paper by Brenda Goodman.

\n\n

For over five decades\, Goodm
an&rsquo\;s paintings have swung like a pendulum between figuration and abs
traction to a unique blending of the two. In her most recent work\, neither
vies for supremacy\, but are blended together to evoke a range of psychic
states: from isolation and fear to intimacy and contentment.

\n\n

Ear-like appendages attach themselves to bulbous
face-like forms. Organic shapes sprout what could be tentacles or legs. Str
etching and reaching\, twisting and turning\, there is an implied longing a
nd desire to connect.

\n\n

The works var
y in size from 6 x 8 inches to 52 x 60 inches. There is a power in the smal
l works on paper and an intimacy in the large paintings. Surfaces are thick
and thin\, smooth and rough. Strength\, delicacy and intensity of feeling
&ndash\; these are what set Goodman&rsquo\;s paintings apart.

\n\n

This is Brenda Goodman&rsquo\;s (born 1943\, Det
roit) first solo exhibition at the gallery. She studied at the College of C
reative Studies (then called the Detroit Society of Arts and Crafts). In 19
76 she moved to New York City and her work was included in the 1979 Whitney
Biennial. She has had 38 solo exhibitions. In 2015 she had a 50-year retro
spective at the Center Galleries\, College for Creative Studies\, Detroit\,
MI. Also in 2015 her work was included in the American Academy for the Art
s and Letters annual invitational where she received the Award in Art. She
received fellowships from the National Endowment for the Arts and the New Y
ork Foundation for the Arts. Her work is included in the collections of the
Carnegie Museum of Art\, Pittsburgh\, PA\; Museum of Contemporary Art\, Ch
icago\, IL\; the Santa Barbara Museum\, CA\; and the Detroit Institute of t
he Arts\, MI. Since 2009\, Goodman has lived and worked in the Catskill Mou
ntains\, New York.

Julie Saul Gallery is pleased
to announce Berlin based artist/photographer Andrea Gr&uuml\;tzner&rsquo\;s
first US solo exhibition. Working with the analog process\, and assorted m
irrors and gels\, Grützner creates straight color photographs that are at
the same time abstract and representational\, ambiguous and descriptive. Th
e title and subject of the exhibition\, Erbgericht (Guesthouse)\,
is a specific traditional village guesthouse in the eastern part of Germany
. Grützner grew up near an Erbgericht in the village of Polenz\, east of D
resden. One family has owned this specific guesthouse for five generations
since 1889. She tells of the big old house\, full of nooks and crannies\, w
hose corners and objects have the memories of generations attached to them.
It&rsquo\;s a collage of material built over generations.

\n

Erbgericht continues the abstract language o
f L&aacute\;szl&oacute\; Moholy-Nagy and the Bauhaus. Grützner creates str
ict rules for herself\; the whole photograph\, including the shadows and th
e composition\, is taken in only one shot on analog film without any digita
l alterations. Through the use of color flash and the creation of strong sh
adow lines\, the interiors look alienated and transformed to architectural
details as Grützner enters into a visual dialogue with the building. "Shad
ows are traces and marks that have a direct relation to the object\, but th
rough the projection\, these objects can appear twice as big or transformed
and changed\, they take on their own lives" and thus\, says Andrea Grützn
er\, "they work a lot like memories."

\n

Andrea Grützner lives in Berlin and is a member of the photography collec
tive Exposure Twelve. She earned her Master of Fine Arts degree in photogra
phy from the Bielefeld University of Applied Sciences in 2014 and subsequen
tly has shown at festivals\, and in solo and group shows worldwide.

\n

Grützner received the PhotoVision Sponsorsh
ip Award and the Source Cord Prize in 2014\, as well as the LEAD Award (sil
ver) in 2015. She was a winner of Gute Aussichten 2014/2015 &ndash\; young
German photography prize\, and most recently FOAM Talent 2016\, on view at
the Unseen photo fair in September. Kerber Verlag recently published a mono
graph das Eck (The Corner) which was developed during the course o
f her scholarship in Koblenzer Koblenzer Stadtfotografin 2015.

Icarus-Colour-Space
\, a new series of work by Canadian based artist Sydney Blum\, is shaped li
ke a wing\, suggesting a continuum of time and space. The ways in which the
grids\, colors and shapes are composed make you feel as if you are about t
o take off. This is where the title of the exhibition\, Icarus-Colour-Space
\, comes in. Icarus is\, of course\, the figure in Greek myth whose father
fashioned wings of feathers and wax so that they could escape imprisonment
on an island. Icarus\, young and full of life\, skateboarded through the sk
y\, as it were. Yet in spite of his father&rsquo\;s warnings\, he flew too
near the sun\, the wax on his wings melted\, and he fell to his death.

\
n

Sydney Blum has used the idea
of Icarus flying towards the sun as the impetus of her new work. Here\, she
attempts to describe and create the motion and sensation of flying but in
solid form: an incongruity that is not lost on her. She juxtaposes and dist
orts colors and lines and shapes in such ways as to produce seemingly contr
adictory vibrating waves of energy in our consciousness. We see the form\,
the suggestion of a wing\, a shield\, an expanding and contracting grid und
erlaid with gradations of color. The flight that draws us through this comp
lex undulating interplay of color\, shapes\, shadows and light takes us som
ewhere else. Towards the sun\, perhaps. Into the unknown\, certainly.

\n

In the previous series &ldquo\;
Fuzzy Geometry&rdquo\; we were guided to an inner world of uncertain bounda
ries of color and space\, while this new work describes a movement outward\
, upward. The mechanics are quite visible and intentionally evident as one
moves around the pieces cantilevered from the wall. Perhaps a collaboration
between Icarus&rsquo\; father and the Wright Brothers. It is strangely opt
imistic.

\n

For Sydney\, the
creation of a piece of sculpture is an exploration. The development of the
process\, sourcing the materials and designing the structures are only a pa
rt of the whole undertaking. She examines a large selection of computer pro
grams and websites in her research into earth energies\, the vibrations of
color\, grid formations\, oscillation\, geometric theory\, seismology\, int
erference patterns\, dowsing\, Tai Chi\, Chi Gong\, shape theory and metall
urgy. It is quite evident that she is deeply interested in subtle energies.
For the new series\, she has also had lengthy discussions with printers wh
o produce the raw materials for the pieces\, and she has worked closely wit
h a metal machinist to design the movable mechanism holding the sculptures
out from the wall. All this is in addition to thinking deeply about the mea
ning and implications of her work\, manipulating the materials\, and engagi
ng her creativity and imagination throughout every aspect of the project.
p>\n

Sydney Blum has had exh
ibitions at P.S. 1\, the New Museum\, the Sculpture Center\, the Fine Arts
Museum of Long Island\, Massachusetts College of Art in Boston as well as l
ocations in Europe. Her work has been reviewed and discussed in internation
al art journals\, including Art Forum\, Art in America and The New York Tim
es. She taught at the Parsons College of Fine Art in New York for 17 years.
She has received grants from Artist Space\, the New York Foundation for th
e Arts and Creation Grants for Arts Nova Scotia.

&ldquo\;Gravitation
al Waves&rdquo\; was in part inspired by the announcement of the proof of E
instein&rsquo\;s 70-year-old prediction of the existence of gravitational w
aves. The artist recently had a dinner conversation at KentPresents with th
e renowned physicist Kip Thorne whose research led to the proof of Einstein
&rsquo\;s theory\, capturing the sound of two black holes colliding at the
birth of our universe some 1.3 billion light years away.

\n

Evangeline wrote &ldquo\; &hellip\;I was com
pelled by the sound of the fleeting chirp of the collision of two black hol
es in part because my work processes personal and familial mythologies. Thi
s event was heard and recorded in Livingston Parish\, Louisiana near my bir
th place. I never suspected that research of this import was happening ther
e. &rdquo\; The Louisiana event propelled her to act. Years before she lear
ned from a fellow resident at Santa Fe Art Institute to follow the faintest
traces of what you cannot understand because somewhere on Earth there will
be someone doing work that provides the support for yours. &ldquo\;I just
didn&rsquo\;t expect it to come from the field of science&hellip\;&rdquo\;<
/p>\n

Seeing a conceptualized il
lustration of energy inside a black hole struck her as the drawings she mad
e of camellias from her mother&rsquo\;s garden. Evangeline claims that her
mother&rsquo\;s camellias felt important and that she knew that they would
inspire something some day when she was ready. The artist believes that we
are built to understand the world through patterns of accidents and coincid
ences.

Lehmann Maupin is pleased to announce an exhibition of new work by Liu Wei. The gallery&rsquo\;s second exhibition with the Chinese artist will be
shown in both its New York locations. Each space will feature an installat
ion alongside new paintings in which Liu Wei continues his examination of t
he physiological and psychological conditions that shape reality. T
he gallery will host an opening reception for the artist on Wednesday\, Nov
ember 2\, from 6-8 PM at 536 West 22nd Street and 201 Chrystie Street.

\n

Over the past two decades\, Liu
Wei has resisted commitment to a specific medium or way of making\, choosin
g instead to work with a wide range of media that facilitates the conceptua
l nature of his work. While many of his paintings\, sculptures\, installati
ons\, and videos reference Chinese culture and its modern landscape\, his f
ocus lies in universal issues affecting contemporary society\, such as the
transformative effect of urbanization on the landscape and unbalanced hiera
rchies of authority. Liu Wei approaches these concepts with an open mind\,
without imparting a particular political line of thinking. As part of the p
ost-Mao generation\, the artist has expressed how the rapid development of
China and the constant shifting of ideology and values created an uncertain
state of reality\, which has deeply informed his artistic pursuits. Centra
l to Liu Wei&rsquo\;s practice is his manipulation and alteration of percep
tion as a tool to create environments where viewers encounter a complex and
varied existence.

\n

For his sculptural
installation at 536 West 22nd Street\, Liu Wei was inspired by the Jorge L
uis Borges poem Mirrors (1960)\, particularly the segment that reads\, &ldq
uo\;...Everything happens and nothing is recorded\, In these rooms of the l
ooking glass&hellip\;.&rdquo\; The monumental sculpture&mdash\;comprised of
mirrors that form a single\, floating box&mdash\;passes through walls and
blocks off established pathways of the gallery as a way to drastically alte
r the existing architecture and the experience of the space. For Liu Wei\,
the presence of the viewer\, who will be able to circumnavigate the box\, i
s as important to the installation as the physical and material characteris
tics of the sculpture. The piece is intended to provoke a phenomenological
experience of space that can be only activated by the viewer.

\n

Architecture has long been a source of inspiration
for the artist\, as one of the defining characteristics of both modernity
and urbanism. This is echoed in the gray monochromatic paintings also insta
lled at West 22nd Street. The thick\, tactile impasto of oil paint applied
like rough plaster to the canvas recalls industrial building materials\, wh
ile a series of metal bars installed in front of the paintings creates a vi
sual and conceptual disruption to the viewing experience. This metal barrie
r\, like the mirrored sculpture\, provides a framing structure for the pain
tings\, while also activating the viewer&rsquo\;s awareness of their physic
al presence within the space\, as a consumer of visual information.

\n

At Chrystie Street\, Liu Wei builds upon his
concern for activating space with a complex installation composed of objec
ts made from military canvas\, metal\, and wood. Surrounding the installati
on is a series of colorful\, irregularly shaped paintings on steel that res
emble views of the horizon. This entire installation is intimately linked t
o Liu Wei&rsquo\;s fascination with the ways technology has enhanced and al
tered our understanding of the world. His representation is fragmented and
disjointed in a way that mimics how we receive and process information. Liu
Wei&rsquo\;s work suggests that the illusion of a panoramic view of the wo
rld drastically alters our own perception of reality\, which is no longer s
imply informed by our immediate locale.

Kjartansson engages multiple artistic mediums
\, creating video installations\, performances\, drawings\, and paintings t
hat draw upon myriad historical and cultural references.&nbsp\; An underlyi
ng pathos and irony connect his works\, with each deeply influenced by the
comedy and tragedy of classical theater. The artist blurs the distinctions
between mediums\, approaching his painting practice as performance\, likeni
ng his films to paintings\, and his performances to sculpture. Throughout\,
Kjartansson conveys an interest in beauty and its banality\, and he uses d
urational\, repetitive performance as a form of exploration.&nbsp\;

\n\n

Scenes from Western Culture (2015
)\, which will be on view in Chelsea\, is a series that depicts idyllic rep
resentations of Western life. The nine videos\, or &ldquo\;cinematic painti
ngs\,&rdquo\; present non-narrative scenes: a couple dining at a New York r
estaurant\, children playing in a garden in Germany\, a woman swimming in a
private pool. The picturesque tableaux unfold almost like advertisements\,
portraying tranquil\, inviting moments that captivate in their beauty. Als
o on view in Chelsea will be Architecture and Morality (2016)\, a
series of paintings Kjartansson completed during a two week period in the W
est Bank in conjunction with the Center for Contemporary Art in Tel Aviv. T
aking his easel and paints to the contested Israeli settlements\, the artis
t made representational oil paintings of homes en plein air from morning ti
ll dusk\, finishing one painting a day. Kjartansson&rsquo\;s straightforwar
d landscapes contrast with the political complexity of the region they repr
esent.&nbsp\;

\n\n

In the Bushwick galle
ry Kjartansson will present World Light - The Life and Death of an Arti
st (2015)\, a four-channel video based on Icelandic author Halld&oacut
e\;r Laxness&rsquo\;s four-volume novel World Light (1937-40). World Light portrays the tale of an orphan who yearns to become a mas
terful poet and his search for greatness\, a quest which is riddled with di
fficulties\, mediocrity\, and tragedy. Kjartansson produced and filmed his
take on the epic novel with his friends and family over one month at Vienna
&rsquo\;s Thyssen-Bornemisza Art Contemporary (TBA21) in 2014. As a perform
ance that was open to the public\, the artist and his comrades built sets\,
made costumes\, wrote music\, rehearsed\, and filmed scenes on site. The d
ocumentation and culmination of the performance realized in Kjartansson&rsq
uo\;s video materializes the essence of the novel it depicts\, poignantly s
howcasing a romantic\, idealistic undertaking and revealing its human imper
fections.&nbsp\; With its broken narrative of longing\, death\, and art\, K
jartansson describes the video as a cubist painting of a novel.

\n\n

Kjartansson (b. 1976) lives and works in Reykj
av&iacute\;k. The artist currently the subject of a survey exhibition at th
e Hirshhorn Museum and Sculpture Park\, Washington\, D.C.\, which traveled
from the Barbican Centre\, London\, having been on view from July to Septem
ber 2016. Kjartansson has had major solo shows at the Mus&eacute\;e d'\;
art contemporain de Montr&eacute\;al\; the Palais de Tokyo\, Paris\; The Ne
w Museum of Contemporary Art\, New York\; the Migros Museum fur Gegenwartsk
unst\, Zurich\; the Fondazione Sandretto Re Rebaudengo\, Turin\; the Frankf
urter Kunstverein\; the BAWAG Contemporary\, Vienna\; the Carnegie Museum o
f Art\, Pittsburgh\; the Museum of Contemporary Art North Miami\; and the I
nstitute of Contemporary Art\, Boston. Kjartansson participated in The
Encyclopedic Palace at the Venice Biennale in 2013\, Manifesta 10 in S
t. Petersburg\, Russia in 2014\, and he represented Iceland at the Venice B
iennale in 2009. The artist is the recipient of the 2015 Artes Mundi&rsquo\
;s Derek Williams Trust Purchase Award and Performa&rsquo\;s 2011 Malcolm M
cLaren Award.

Magnan Metz Gallery is pleased
to present its third exhibition by Wenyon &amp\; Gamble.&nbsp\;Out of
Place will be on view from&nbsp\;November 4th &ndash\; Dece
mber 17th with an artist reception on&nbsp\;November 3rd 6-8 pm.

\n

Out of Place que
stions the &lsquo\;newness&rsquo\; often assumed in presentations of techno
logy. The artists employ different media &ndash\;&ndash\;holograms and dagu
erreotypes&ndash\;&ndash\;to reflect on the past and the sentimental lure o
f objects as they fade into history. With images of index boxes\, coal and
silver\, the exhibit looks at subjects old and obsolete.

\n

Silver Before Photography is a hologram of En
glish silverware manufactured before the invention of photography.&nbsp\; T
he silverware looks modern and ageless. It is illuminated by diffused light
ing reflecting from two recent Apple&trade\; devices that are not themselve
s visible.&nbsp\; In the jug\, a small Apple&trade\; logo is visible in ref
lection. The hologram presents the illusion of antique spoons and ladles\,
resting on a table\, ready for use.

\n

The hologram itself was possibly the last analogue photographic process to
use silver salts. Here the 20th-century medium provides a window
onto silver objects from an age before photography.

\n

Susan Gamble and Michael Wenyon have worked together since
1983 with holography and photography.&nbsp\;

\n

Susan Gamble (b. London\, 1957) and Michael Wenyon (b. Dayton\, O
hio 1955) live in London and New York and have collaborated since 1983.&nbs
p\; They share differing backgrounds in art and science. Susan Gamble has a
BA in Fine Art\, Goldsmiths&rsquo\; College\, London\, an MPhil &amp\; PhD
\, in the History of Science\, Cambridge University\, UK\; Michael Wenyon h
as BSc in Physics\, Bristol University\, UK and an MSc in Optics\, Imperial
College\, London.&nbsp\; Their works are in collections such as The Victor
ia &amp\; Albert Museum\, London\; the M.I.T. Collection\, Boston\; the Nat
ional Portrait Gallery\, Washington DC and the National Academies of Scienc
e\, Washington DC and have been exhibited at the Whitney Museum of American
Art and Tate Liverpool\, UK.

New York-based bitforms galler
y celebrates its fifteenth year with an anniversary exhibition at Minnesota
Street Project in San Francisco. The curated presentation of works include
s currently represented artists as well as those who have shaped the galler
y&rsquo\;s identity over the years\, demonstrating the program&rsquo\;s con
tinued engagement with technologically informed practices.

\n

Since 2001\, bitforms has become synonymous with &ldq
uo\;new media&rdquo\; art and the work that falls into this ever-shifting c
ategorization. As such\, the program spans a range of media from traditiona
l to experimental. With new media being relative to each generation\, the g
allery represents established\, mid-career\, and emerging artists\, showing
the diversity of approaches to media over several generations.

In a moment of economic downturn and global uncertainty\, the gallery ope
ned its doors in November 2001 in Chelsea\, the epicenter of the New York a
rt world. At the same time\, media art was gaining institutional support wi
th the hype cycle of the dot-com bubble. Prior to bitforms&rsquo\; opening\
, five exhibitions at major institutions signaled a sea change in the art w
orld: the Solomon R. Guggenheim opened Mediascape in 1996\; SFMOMA opened "
{010101: Art In Technological Times}"\; the San Francisco Art Institute ope
ned the traveling exhibition "Telematic Connections: The Virtual Embrace"\;
and the Whitney Museum of American Art opened "BitStreams\," all in 2001\,
and in the UK\, Art and Money Online opened at the Tate Modern\, also in 2
001. Despite the dot-com bubble bursting\, bitforms gained momentum and car
ved out a space in the gallery scene as the only program exclusively repres
enting artists critically engaged with technology.

bitforms&rs
quo\; fifteen-year anniversary comes at a moment when media art is garnerin
g newfound attention\, reminiscent to the beginning of the millennium. With
in the past year\, we&rsquo\;ve seen the landmark exhibition "Electronic Su
perhighway (2016 &ndash\; 1966)" at the Whitechapel Gallery\, spanning five
decades of artists&rsquo\; work impacted by computer and internet technolo
gies\; conservation and preservation of computer-based artworks gaining ins
titutional support at the Guggenheim\, MoMA\, and SFMOMA\; and the ever-inc
reasing acquisition of post-internet art by collectors and institutions aro
und the world. While contemporary technology is used for increasingly corpo
rate ends\, bitforms&rsquo\; artists employ these same tools as a means for
artistic expression.

Highlights of the exhibition include new
LED wall sculptures by Daniel Canogar\, a large-scale interactive work by
Rafael Lozano-Hemmer\, a sculpture that intercepts WiFi signals by Addie Wa
genknecht\, a drawing machine by Tristan Perich\, algorithmically generated
digital paintings by Siebren Versteeg\, computer drawings from the 1970s b
y Manfred Mohr\, a video compilation of Mark Napier&rsquo\;s "net.flag"&nda
sh\;&ndash\;one of the first Internet artworks to be commissioned by a majo
r institution\, and works on paper inspired by Yael Kanarek&rsquo\;s browse
r-based "World of Awe" series. While the earliest works in the show date to
the beginning of the 1970s\, works by emerging artists&ndash\;&ndash\;incl
uding Sara Ludy\, Jonathan Monaghan\, Quayola\, and Addie Wagenknecht&ndash
\;&ndash\;showcase how a new generation of artists are engaging with contem
porary technology. In their respective practices\, these artists employ Sec
ond Life\, computer-generated animation (CGI)\, lidar (light and radar thre
e-dimensional scanning)\, and drone technologies.

303 Gallery is pleased to anno
unce our second exhibition of new work by&nbsp\;Jacob Kassay.

Whether walking up the stairs or reaching in the cabinet\, through the dail
y repetition of the same surroundings\, domestic space is where haptic sens
e develops then sediments\, conditioning the body&rsquo\;s motor skills to
automatically navigate and interface without assessing its environment. Kas
say's new sculptures explore these systems in which architecture both laten
tly shapes and eludes conscious sense. This rote coding of gestures causes
the awareness of one&rsquo\;s surroundings to slowly erode\, with familiari
ty superseding reflection. Thickening the peripheral features and interstic
es of interior space that are routinely used but disregarded\, Kassay refra
mes how attention is built into its surroundings.

Three archit
ectonic sculptures within the exhibition terminate in dead ends and reroute
one&rsquo\;s circulation through the gallery. Modeled on separate stairwel
ls at 1:1 scale\, these works present corridors whose connective function i
s severed\, neither ascending nor descending.&nbsp\; These disconnected pas
sages form a series of transitions that hover in an architectural uncanny\,
somewhere between model and fragment\, calculated rendering and lived spac
e. &nbsp\; Railings are affixed along the gallery wall\, framin
g it as a transited space.&nbsp\; These supports are lined with Braille cha
racters without syntax\, extruding the eponymous letters of the exhibition
- H for one\, L for the other. This fixed-scale language communicates nothi
ng other than prehensible vocalizations: embedded sighs and inaudible drone
s which trail off into space.

Jacob Kassay was born in 1984 in
Lewiston\, New York. In 2017\, his work will be the subject of a solo proj
ect at Albright Knox\, Buffalo NY\, curated by Cathleen Chaffee.&nbsp\; Pas
t solo presentations have been held at The Kitchen\, New York\; The Power S
tation\, Dallas\; and Collezione Maramotti\, Reggio Emilia. He has been inc
luded in group exhibitions at venues including MoMA PS1\, New York\; Fondat
ion Richard\, Paris\; Centre National d&rsquo\;Art Contemporain\, Grenoble\
; FRAC Poitou-Charenetes\, Angoul&ecirc\;me\; and Kunsthalle Andratx\, Mall
orca. Kassay's work was part of the 8th Gwangju Biennale\, curated by Massi
miliano Gioni\; and the 2010 White Columns Annual\, curated by Bob Nickas.&
nbsp\;His work can be found in public and museum collections\, including&nb
sp\;Boston Museum of Fine Arts\; FRAC Poitou-Charenetes\,&nbsp\;Angoul&ecir
c\;me\; and Arab Museum of Modern Art\, Qatar. Kassay lives and works in Lo
s Angeles.

Diverse in its approach and materials\, P&aacute\;draig Timoney&rsquo\
;s work blends and mutates styles as he moves between painting\, photograph
y\, and installation. Despite the visually distinct results\, at the work&r
squo\;s core is a focused inquiry into the mechanics of images. Timoney con
versely works in both directions - creating new images from abstractions (t
he captivating results of processes achieved in the studio)\, or rebuilding
them part-by-part from photographs or observation. In each\, he acknowledg
es the inherent flaws of these constructions\, from the faultiness of recog
nition\, the errors of translation\, and further\, the subjectivity of both
viewers and the artist.&nbsp\;

\n\n

The
se in turn become generative openings in Timoney&rsquo\;s work as they are
distanced from their original context. The images exist within thrilling\,
new visual constellations\, allowing for the introduction of artifice and i
llusion\, and the question of not only what they depict\, but why? Each wor
k records an index of decisions that determine its final state\, materially
and cognitively\, displaying a history that is intentionally left open-end
ed. Figuration appears to hover only a hair away from abstraction\, as if t
he movement of a line would cause one to collapse into the other. The narro
wing of this gap suggests that the works&rsquo\; initial disparate appearan
ce may lead to an alternate understanding of their connections\; a net that
widens only to close anew\, though what&rsquo\;s caught within it is left
for the viewer to decide.

Danziger Gallery is pleased
to announce our representation of the acclaimed British painter Annie Kevan
s. &nbsp\;Known for the originality of her ideas as well as the deftness an
d beauty of her brushstrokes\, since 2004 Kevans has produced multiple seri
es of portraits with provocative historical\, social\, or political concept
s. &nbsp\;

\n

&nbsp\;

\n

Among the series she has produced over the last
decade are:

\n

&nbsp\;

\n

&ldquo\;Boys&rdquo\; - dictators imagined as
their young selves.

\n

&nbsp\;

\n

&ldquo\;Girls&rdquo\; &ndash\; about t
he commodification of girls in popular culture

Our exhibition\, opening on November 2
\, will be based largely on the series "The History of Art&rdquo\; comprisi
ng portraits of 20 women artists\, either renowned in their time but now la
rgely forgotten\, or who came to be known via their association with more p
owerful male artists. &nbsp\;A response to the one-sidedness of art history
\, and in addition to the many factors that weigh against women artists\, i
n Kevans&rsquo\; view a person&rsquo\;s historical significance is diminish
ed when you cannot put a face to a name. &nbsp\;Her series seeks to rectify
that.

&ldquo\;All About Eve&
rdquo\; &ndash\; British royal mistresses and their descendants.

\n&nbsp\;\n

&ldquo\;The Muses of Jean Paul Gaultier&rdquo\; &ndash\; a series co
mmissioned by the designer.&nbsp\;

\n

&nbsp\;

\n

Kevans&rsquo\; place in
the British art world started at art school when her series\, &ldquo\;Boys
&rdquo\;\, was bought by Charles Saatchi from her 2004 Central St. Martins
School of Art degree show. &nbsp\; The series was subsequently exhibited in
its entirety at the Saatchi Gallery as part of the exhibition &ldquo\;Pape
r&rdquo\;. &nbsp\;

\n

&nbsp\;

\
n

Kevans has exhibited in group shows at
leading museums including the Barbican Art Gallery\, the Royal Academy\, th
e Grand Palais\, the National Gallery of Victoria in Melbourne\, and the Ma
rres Centre for Contemporary Art in Maastricht. &nbsp\;Her work can be foun
d in major collections\, including the Pallant House Gallery\, the David Ro
berts Collection\, 21c Museum\, as well as in the collections of Lord Rothe
rmere\, Marc Quinn\, and Jean Pigozzi.

In the wake of Andreas Gursky&rs
quo\;s current survey exhibition &ldquo\;nicht abstract&rdquo\; at Kunstsam
mlung Nordrhein-Westfalen in Germany\, Gagosian is pleased to present &ldqu
o\;Not Abstract II\,&rdquo\; an exhibition of recent photographs by the ren
owned German artist\, accompanied by an electronic sound installation creat
ed by Canadian DJ and producer Richie Hawtin.

\n

From images of nature to cities\, crowds\, and products\, Gursky s
eems to create what already exists. In his photographs variations in distan
ce serve to emphasize contemporary truths\, whereby subject matter is prese
nted in a detailed uniformity that privileges neither foreground nor backgr
ound. In Les Me&eacute\;s (2016)\, solar panels\, rolling hills\,
and a gray-blue sky become bold areas of color\, as opposed to elements in
a landscape. Hawtin&rsquo\;s minimalist techno soundscape\, composed in res
ponse to Gursky&rsquo\;s art\, &lsquo\;breathes&rsquo\; with the photograph
s\, inspiring longer pauses that allow each image to expand beyond its fram
e.

\n

In several untitled works never be
fore exhibited in the United States\, Gursky takes this effect a step furth
er\; aerial views of tulip fields tip the landscape up and create homogeny
from variety\; the colors blend together to form horizontal bands\, like sh
eet music filled in with impressionist hues. That these works are deliberat
ely untitled emphasizes his longstanding interest in recasting\, time and a
gain throughout his artistic career\, the formal questions activated in pos
twar American abstraction. However\, according to him\, these photographs a
re not abstract\, because abstraction is unrecognizable. From afar they app
ear as ambiguous geometries and gradients\, but a step closer and a refocus
ing of the eye reveals their content. Once the tulips are recognized as suc
h\, there is no returning to abstraction. Thus Gursky offers up the thresho
ld of abstraction\, just in time to make it disappear.

\n

The tulip fields find their consumerist equivalent in Media Markt (2016) and Amazon (2016). The irons\, coffee-mak
ers\, and vacuum cleaners of Media Markt\, and the seemingly infin
ite rows of packages in Amazon\, become mosaic depictions of space
s that seem too big to comprehend. Gursky is able to foster this sense of t
he quotidian sublime in both scale and content in meditations on the Romant
ic genre deftly attuned to contemporary times. His Superheroes ser
ies of 2014 pairs grandiose settings with popular American superheroes whos
e distinctive poses are dwarfed by the sweep and rise of seascapes and skys
crapers. In Rueckblick (2015)\, four German Chancellors&mdash\;Ger
hard Schr&ouml\;der\, Helmut Schmidt\, Angela Merkel\, and Helmut Kohl&mdas
h\;sit in black leather chairs with their backs to the viewer\, similarly r
educed by the large fields of color that constitute Barnett Newman&rsquo\;s
Vir Heroicus Sublimis (1950&ndash\;51)\, a highlight of New York&
rsquo\;s Museum of Modern Art.

\n

Both G
ursky and Hawtin use digital technology&mdash\;in image and sound respectiv
ely&mdash\;to recombine the materials of everyday existence. Their collabor
ation brings all of the senses together\, positioning politics\, capitalism
\, and geography within a hypnotic realm that oscillates between abstractio
n and reality.

\n

Andreas Gursky
was born in 1955 in Leipzig\, former East Germany\, and lives and
works in D&uuml\;sseldorf\, Germany. His work is featured in institutional
collections including The Metropolitan Museum of Art\, New York\; Solomon
R. Guggenheim Museum\, New York\; Tate Modern\, London\; National Galleries
of Art\, Edinburgh\; National Gallery of Art\, Washington\, D.C.\; Kunstha
us Z&uuml\;rich\; San Francisco Museum of Modern Art\; Kunstmuseum Basel\;
Kunstmuseum Bonn\; Los Angeles County Museum of Art (LACMA)\; Museum Ludwig
\, Cologne\; and Kunstsammlung Nordrhein-Westfalen\, D&uuml\;sseldorf.

From October 27 to Dec
ember 10\, 2016\, MIYAKO YOSHINAGA is pleased to
present Wraparound\, the gallery&rsquo\;s second
solo exhibition by Manika Nagare. An opening recep
tion for the artist will be held on Thurs
day\, October 27\, 2016 from 6pm to 8pm. &nbsp\;The artist will be
present.&nbsp\; &nbsp\;&nbsp\;

\n

More
than five years after the Eastern Japan Great Earthquake struck Fukushima a
nd its surroundings in 2011\, Tokyo-based Manika Nagare st
ill continues to explore its aftermath and traumatic effects. Inspired by t
he nature&rsquo\;s myriad facets\, her 10 new oil paintings (four of them f
orming the set of two large diptychs that are the show&rsquo\;s centerpiece
) feature delicately rendered organic lines and carefully glazed and layere
d colors. They are both inviting and unsettling\, as if they are the potent
ially fearful remnants of destructive force. The artist states: &ldquo\
;We humans tend to forget that we are part of nature and hold responsibilit
y for its future.&nbsp\; I want the viewer to feel part of the painting\, b
ecause what&rsquo\;s happening in the painting is not separate from the vie
wer.&rdquo\;

\n

&nbsp\;Although Nag
are&rsquo\;s paintings stem from perceivable phenomena in the real world (i
.e. heat haze\, cicada chirps)\, they don&rsquo\;t merely display the physi
cal world nor signal a higher truth.&nbsp\; They are nature itself.&nbsp\;
Her dramatic use of unmixed colors such as orange\, pink\, green or blue br
ightens each space like fire. Her biomorphic lines flow with smooth rhythm
like water. Her brushstrokes on canvas look as lightweight as a feather tou
ching skin. In Nagare&rsquo\;s paintings\, all these evocative elements coe
xist in nature\, only to be discovered by the viewer.&nbsp\;

\n

&nbsp\;Nagare strives to extend her painting beyond
the limits of the canvas\, to make the exterior space wrap around the view
er. In recent years\, Nagare has developed installation and performance wor
k in which human movements and bodily expressions (such as a dance) interac
t with her paintings\, so that human (the viewer) and nature (the painted l
andscape) are reunited in the work.&nbsp\; The viewer gradually becomes par
t of the painted image &ndash\; a landscape that is not about someone else
but the viewer him/herself. From flat to spatial\, from visual to corporeal
\, from intellectual to visceral\, Nagare&rsquo\;s exuberant paintings appr
oach you\, talk to you\, and in the end deliver the artistic authorship wit
h full power.

\n

&nbsp\;Manika Nagare was born in Osaka in 1975 and raised in Kag
awa\, Japan. She studied painting at the Joshibi University of Art and Desi
gn. She has been exhibiting her work in Japan\, the United States\, Turkey
and other international venues. Her work is represented by numerous interna
tional public and private collections and will be featured in an exhibition
&ldquo\;Visible/Invisible Sceneries&rdquo\; at the Takamatsu Art Museum\,
Kagawa\, Japan\, which runs simultaneously with this New York solo show in
October and November 2016.

This exhibition is comprised of intimate iconic drawings and
paintings conveying the nuts and bolts of the artist&rsquo\;s modus operan
di. Apropos to the recent exhibition at The Met Breuer\, &ldquo\;Unfinished
: Thoughts Left Visible&rdquo\;\, Boynton&rsquo\;s works give the viewer in
sight on the ideas and stream of consciousness that makes up an artist. Boy
nton&rsquo\;s works are spontaneously organic\, and have an inherent qualit
y of brute force&mdash\;No halls barred. Her wanton love of form and line i
s consistent throughout her works\, regardless of size and content. The fig
ure is reveled\, played with and positioned in the most natural and forthri
ght states of human condition. Boynton&rsquo\;s work suggest introspection\
, comradery and combativeness whenever and whatever&mdash\;it just comes fo
rth. The beauty of these works is the intimacy and forthrightness that is d
epicted regardless of the surfaces. Subtle nuances enrich these works with
layers of configuration and muted color. The drawings are presented in beau
tiful fine hand rubbed and stained frames that enhance the uniqueness of th
e subjects brought forth.

\n

Prior to ex
hibiting with the gallery Boynton exhibited with Littlejohn Contemporary\,
New York\, NY\; Gallery Jupiter\, Little Silver\, NJ\; and Steffany Martz G
allery\, New York\, NY. Selected group exhibitions include In The Garden at
Barbara Krakow in Boston\, MA\; New Prints\, 2002 at the International Pri
nt Center\, New York\, NY\; Book\, Box\, Word\, Volume II at the University
of Florida and North Miami Contemporary Art Center. Her work has been revi
ewed in ArtForum\, ARTNews\, Art in America\, New York Times\, Arts Magazin
e\, New Art Examiner\, Modern Painters\, Architectural Digest\, and the Wal
l Street Journal. Boynton&rsquo\;s work was featured in the film\, &ldquo\;
Remember Me&rdquo\; with Robert Pattinson. Among her museum shows she has e
xhibited are: her most recent solo\, &ldquo\;Out Of Line&rdquo\;\, Delaware
Contemporary Museum\, Wilmington\, DE and the Helen Day Art Center in Stow
e\, VT. Noted Art Critic Donald Kuspit has written about Boynton both in he
r book and has reviewed her exhibitions at Denise Bibro Fine Art for ArtFor
um\,

Bortolami is pleased to announ
ce a presentation of works from Michel Fran&ccedil\;ois&rsquo\; Instant
Gratification series\, ceramic wall sculptures by Liz Larner\, drawin
gs by Tony Lewis\, and a Virginia Overton sculpture. In a separate exhibiti
on in the second gallery room\, Morgan Fisher&rsquo\;s film Screening R
oom will be screened hourly.

\n\n

B
ronze sculptures by Michel Fran&ccedil\;ois hang on alternate walls between
Liz Larner&rsquo\;s wallmounted ceramics. In forming these sculptures\, bo
th artists relinquish control of their primary materials. For Fran&ccedil\;
ois\, this means forgoing a mold\, letting the bronze drip and flow to reta
in the dynamic viscosity of the metal&rsquo\;s molten state.

\n\n

Similarly\, Larner&rsquo\;s process exploits the
sensitivity of the clay and the unpredictability of firing and glazing to a
lchemical effect. The exhibition includes two different forms from her slab
-rolled ceramic series: the convex passage and the textured ca
lefaction\, embedded with stones and minerals.

\n\n

Tony Lewis fabricates his site-specific floor drawing in t
he gallery&rsquo\;s front antechamber by rubbing and suffusing sheets of pa
inted paper with graphite powder. The floor drawing is transposed into the
main gallery room as a sculptural installation\, at once a footprint of the
adjacent space and a commemoration of the artist&rsquo\;s graduate school
studio that was often engulfed in graphite dust. Lewis uses the same minima
l materials to create his large-scale schematic drawings of brick walls.

\n\n

Virginia Overton responds to the diff
erent sites in which she salvages her materials and builds her work\, creat
ing installations and sculptures that bare the traces of their spatial and
functional history. Many of the recycled objects and materials she repurpos
es come directly from exhibition sites or her family&rsquo\;s farm in Tenne
ssee.

Screening Room (1968/
2016) by Morgan Fisher is a hand-held tracking shot that travels along 10th
Avenue and then enters the gallery\, culminating in the temporary screenin
g room where the viewer sits watching the film. This is the fifteenth state
\, to use Fisher&rsquo\;s word\, of the film. Despite appearances\, they ar
e all the same film because they all have the same relation to their screen
ing rooms. The film is not remade\, but rather made again. The film can onl
y be seen projected as a film in a screening room\, refusing the universal
availability of the moving image that has become the norm. The film will sc
reen once an hour from 10 am to 6 pm\, Tuesday through Saturday. Another fi
lm by Morgan Fisher will be in the exhibition Dreamlands:Imme
rsive Cinema And Art\, 1905&ndash\;2016\, opening October 28 at the Wh
itney Museum of American Art.

The Flomenhaft Gallery is proud and so exci
ted to exhibit the art and artifacts of two giants of our cultural world\,
Gerson and Judith Leiber.&nbsp\;&nbsp\; For over 70 years\
, from the day they met\, theirs has been a match of love and encouragement
&ndash\; each to the other.&nbsp\;\n&nbsp\;\nIt all started du
ring World War II.&nbsp\; Gerson\, who grew up in Titusville\, Pennsylvania
\, was drafted into the US Army.&nbsp\; As a radio operator\, he was sent t
o Budapest in 1945 to work with a commission observing the Russian liberati
on of Eastern Europe.&nbsp\; The very first day in Hungary he met a young g
irl\, Judith Peto\, and life changed for both of them. They courted\, and w
ere married one year later in Judith&rsquo\;s parents&rsquo\; apartment.&nb
sp\; The war had ended\, and in 1946 they travelled on the first bride ship
General Barry to the United States.\n&nbsp\;\nHungari
an Jews had suffered a great deal during the war. Hungary was a Nazi ally.&
nbsp\; Food was scarce\, Judith&rsquo\;s father was taken to a work camp to
dig trenches against the possible on-coming Russians and the Jews were put
in ghettos where they cowered in cellars during the bombings.&nbsp\; But w
ith great dignity\, Judith says only that they were lucky\, because they su
rvived.\n&nbsp\;\nAlso during the war\, the Hungarian governmen
t severely limited Jews from going to the University.&nbsp\; However Judith
needed to do something\, so her parents helped her get an apprenticeship w
ith a Jewish handbag manufacturer\, named Pessi.&nbsp\; There she learned a
great deal about making fine handbags.&nbsp\; When she and Gus came to the
United States she found work\, and was so talented\, she became the only w
oman handbag sample maker in America. Her skills became well known and very
sought after.&nbsp\; When she lost her job working for a firm that experie
nced financial hardship\, she opened her own business\, Judith Leiber Handb
ags.&nbsp\;\n&nbsp\;\nHer bags were so creative that in 1991\,
Richard Martin\, who was the executive director of the Shirley Goodman Reso
urce Center of the Fashion Institute of Technology and later became the cur
ator of the Costume Institute of the Metropolitan Museum of Art\, wrote:&nb
sp\; &ldquo\;Judith Leiber&rsquo\;s art is no mere fashion accessory\, but
an art of the hand for the hand.&nbsp\; In elegant simplicity\, Judith Leib
er gives us all something to cling to.&rdquo\; Indeed many of our President
&rsquo\;s wives wore Judith Lieber handbags to their husbands&rsquo\; inaug
ural balls. These bags are all in the Smithsonian along with others.&nbsp\;
The Metropolitan Museum of Art has 88 of Judith&rsquo\;s bags in their col
lection and the Victoria and Albert Museum owns one.\n&nbsp\;\n
When the tide of the war moved on in Hungary\, Gerson was still stationed t
here.&nbsp\; He threw himself into the cultural life of the Hungarians\, vi
siting artists and museums\, also the opera which he and Judith love to thi
s day.&nbsp\; Interested in art as a career he went to the Royal Academy of
Art where he received accolades from his teachers.&nbsp\; On returning to
the US he taught art for many years In the Newark School of Fine and Indust
rial Art. He also continued his studies at the Art Students League where on
e of his teachers was Will Barnet with whom he studied graphics.&nbsp\;&nbs
p\; Later studies took place at the Brooklyn Museum\, and there Gabor Peter
di had considerable influence on his growth as an artist. Gerson became a m
aster printer and superb in the medium of charcoal drawing. &nbsp\;We are f
ortunate to include several of Gerson&rsquo\;s graphics and drawings in our
exhibit.&nbsp\; Others are included in over 60 museums.&nbsp\;&nbsp\; From
about 1960\, Gus began to paint with a sure commitment\, and in an abstrac
t expressionist way. &nbsp\;&nbsp\;In these works\, many of which we exhibi
t\, nature seems to have taken strong roots possibly inspired by the showca
se garden he has created in their Amagansett home.&nbsp\;&nbsp\; There is a
lso humor and an interior rhythm in Gus&rsquo\;s paintings that seems to me
ld together with his absolute command of color.

Fredericks &amp\; Frei
ser is proud to announce an exhibition of paintings by John Wesley
. &nbsp\;&ldquo\;Doubles\, Pairs\, and Diptychs&rdquo\; highlights three mo
des of Wesley&rsquo\;s painting practice: paintings that extend beyond a si
ngle canvas\; individual works that are conceived formally or conceptually
as pairs\; and individual works that have virtually identical compositions
in which small shifts in color\, scale\, and line create distinct visualiza
tions.

\n\n

&nbsp\; What becomes apparen
t in &ldquo\;Doubles\, Pairs\, and Diptychs\,&rdquo\; is that Wesley often
used these three methods as a means to heighten or accentuate&nbsp\;repetit
ion. The twelve paintings included here employ motifs such as the frieze\,
ornamental borders\, overall patterning and the mirrored duplication of an
image.

\n\n

Though formally linked to mi
nimalism due to the essentiality and compositional rigor of his production\
, Wesley'\;s repetitions were celebrated by everyone from Donald Judd an
d Lucy Lippard to Germano Celant and Carolyn Christov-Bakargiev as an impor
tant addition to Pop Art. However\, Wesley has always stood apart from his
contemporaries. While others used repetition to define modern thought\, sta
ndardized production\, or commercial serialization\, Wesley shook loose som
ething far stranger. &nbsp\;Unlike Warhol\, for instance\, for whom repetit
ion acted as an accelerator pushing an image almost filmically\, Wesley use
d the multiplication of an image to slow things down\, to break an image fr
om itself and suggest a chasm of meaning\, a sudden rupture in certainty.
p>\n\n

&nbsp\;

\n\n

About the Artist\nJohn Wesley&nbsp\;has been the subject of numerous museum retrospectives i
ncluding the Stedelijk Museum\, Amsterdam\, curated by Rudi Fuchs and Kaspe
r Koenig (travelled to Portikus)\; DAAD\, Berlin\; PS1 MoMA\, Long Island C
ity\, curated by Alana Heiss\; Harvard University Art Museums\, Cambridge\,
MA\, curated by Linda Norden\; Museum Haus Lange\, Krefeld\, Germany\, cur
ated by Martin Henschel\; Chinati Foundation\, Marfa\, TX\, curated by Mari
anne Stockebrand\; and&nbsp\;Fondazione Prada curated by Germano Celant.&nb
sp\;He has a permanent installation of paintings in the Chinati Foundation\
, Marfa\, TX. Wesley has been exhibited and collected by numerous museums i
ncluding MoMA\, New York\; Whitney Museum of American Art\, New York\; MoCA
\, Los Angeles\; Tate Liverpool\; Museum Ludwig\, Cologne\; Carnegie Museum
of Art\, Pittsburgh\; The Menil Collection\, Houston\, and the Hirschorn M
useum and Sculpture Garden\, Washington D.C.&nbsp\; In 2014\, Wesley was co
mmissioned by High Line Art to create a public project for the High Line. T
his will be his twelfth solo exhibition at Fredericks &amp\; Freiser.

Galerie Lelong is pleased to present&nbsp\;Burning all i
llusion\, Samuel Levi Jones&rsquo\;s first solo exhibition with the ga
llery. Known for deconstructing institutional and academic books as a gestu
re of challenging historical and contemporary power structures\, Jones unve
ils new paintings that incorporate found texts on black history\, law and h
igher education.

\n\n

Through the abstraction of book covers into comp
elling compositions\, Jones explores the disillusionment of the very system
s the volumes represent. Several works are comprised of desecrated law book
s\, articulating the artist&rsquo\;s resolute perspective on the flawed Ame
rican justice system. One of the central works in the exhibition\,&nbsp\;Talk to Me&nbsp\;(2015)\, is a monumental\, multi-panel composition
comprised of law books\, whose scale and impact powerfully interrogates the
justice system&rsquo\;s limitations for certain groups. Jones is not solel
y focused on the violent confrontations with the law that continue to make
headlines\, but rather the injustices that go unreported. Seeking out narra
tives of individuals overlooked by society and the media\, Jones creates wo
rks that resemble quilts\, a craft long associated with collaborative story
telling. The new painting&nbsp\;Burning all illusion&nbsp\;(2016)
brings together several reference books of various colors and themes into a
patchwork with loose threads and rough edges\, prompting open-ended questi
ons about the recorded and unrecorded histories of our collective experienc
e.

\n\n

Jones builds upon a movement within abstract painting that pri
oritizes formal investigations while also addressing social and cultural is
sues. Using a process that recalls radical forms of art that employ detritu
s and everyday found materials\, Jones reveals the social discrimination at
play in how value is assigned to different cultures and the objects that r
epresent them. Through his process of simultaneously preserving evidence of
the texts through their bindings while erasing the content\, Jones re-exam
ines history and generates new perspectives from which to grapple with soci
ety&rsquo\;s ongoing ignorance and apathy.

\n\n

Born in Marion\, India
na\, Samuel Levi Jones now lives and works in Chicago\, Illinois. Jones com
pleted a private residency program in Northern California in summer of 2016
\, during which he produced new work for the exhibition from books deaccess
ioned by the Department of African American Studies at the University of Ca
lifornia\, Berkeley. Recent museum exhibitions include&nbsp\;After Fred
Wilson&nbsp\;at the Indianapolis Museum of Contemporary Art and&nbsp\
;Unbound&nbsp\;at the Studio Museum in Harlem\, New York. His work
is included in museum and public collections such as the San Francisco Mus
eum of Modern Art\; The Rubell Family Collection\, Miami\; Los Angeles Coun
ty Museum of Art\; and Studio Museum in Harlem\, New York. In 2014\, Jones
was the recipient of the Joyce Alexander Wein Artist Prize\, an annual awar
d given to an emerging or mid-career African-American artist.

\n\n

In
conjunction with the exhibition\, Galerie Lelong will hold an artist talk m
oderated by Sara Reisman\, Artistic Director for The Shelley &amp\; Donald
Rubin Foundation\, on Saturday\, December 10\, 2-4pm.

Derek Eller is pleased to present Ara
Peterson&rsquo\;s first exhibition with the gallery\, featuring a recent gr
oup of his interlaced relief paintings.

\n\n

Based in Providence\, Rhode Island\, Peterson&
rsquo\;s art evokes the elegance of New England transcendentalism\, the ove
rwhelming geographies of H.P. Lovecraft\, the crisp sonic landscapes of Ste
ely Dan\, and the vertiginous feeling of swimming out to sea. The relief pa
intings are\, like the ineffable works of Agnes Martin or James Turrell\, s
ubjectively kinetic\, and can only truly be experienced in person. They can
be both soothing but also disorienting. And as with the artist&rsquo\;s fi
lms and music\, his paintings are unrelenting. It is the tension between th
ese impulses -- the meditative and the aggressive\, that makes these brilli
antly-hued works so compelling.

\n\n

Peterson begins his process with a lengthy period of&
nbsp\; development rooted in the visualization of wave phenomena. For each
work he plots the relationships between color\, mood\, scale\, weight\, sur
face tension\, and directional flow. The actual physical process is a serie
s of stages executed by hand that the artist refers to as organization\, ex
ecution\, deconstruction\, editing\, re-editing\, and re-execution. Peterso
n cuts wood laminate forms using a heat laser\, paints them with a brush or
an atomizer\, and divides the slats to be manipulated\, arranged and affix
ed.

\n\n

The result of these procedures are objects that\, while utt
erly self-contained in their construction and references\, can variously ev
oke senses of place\, motion\, substance\, and bodily awareness. A life siz
e panoramic band consisting of a sequence of high and low beige and ochre s
wooping undercuts and overhangs might resemble a topographical map of a far
off prehistoric land\; a tall work of undulating earth tones\, yellow\, re
d\, grey\, and turquoise vertical scrolls seems to pulsate as it expands an
d contracts like an enormous wave just about to break over a viewer. Peters
on&rsquo\;s smaller works offer a chance at more intimate experiences with
the wood itself. Here are sets of tight diagonal rolls that appear improbab
ly soft\, resembling kneaded and glazed clay\, and nearly asking to be hand
led\; another work\, is the inverse of those rolls\, with deep scoops of bl
ue and beige simultaneously nodding at absence and presence.

\n\
n

Ea
ch work in this exhibition rewards sustained viewing. Color and form are se
amlessly integrated and these still objects become kinetic as they shift an
d move with light\, placement\, and the physical presence of the viewer.
span>

\n\n

Ara Peterson has mounted solo exhibitions at Ratio 3\, San Franci
sco\, LOYAL Gallery\, Sweden and John Connelly Presents\, New York. His wor
k is in the collections of Albright Knox\, Buffalo\, New York\, Berkeley Mu
seum of Art and Pacific Film Archive\, University of California Berkeley\,
The Deste Foundation Centre for Contemporary Art\, Athens\, The Progressive
Art Collection\, Cleveland\, and the Museum of Modern Art\, New York. His
artwork has been exhibited in The Museum of Contemporary Art\, Los Angeles\
, The Garage\, Center for Contemporary Culture\, Moscow\, Bergen Kunsthalle
\, Bergen\, Norway\, P.S. 1 Contemporary Art Center/The Museum of Modern Ar
t\, New York. As a founding member of the art and performance group Forcefi
eld (1996-2003)\, he released multiple records and videos\, and participate
d in the 2002 Biennial Exhibition\, Whitney Museum of American Art\, New Yo
rk\, as well as What Nerve! Alternative Figures in American
Art\, 1960 to the Present\, RISD Museum\, Providence\, RI&nbsp\; and M
atthew Marks Gallery\, New York.

Without bio-mass\, molecular genetics\, and costly research
laboratories\, Karin Pliem attempts to convey her ideas and perspectives co
ncerning the problematic relationship between man and living nature.&nbsp\;
By seducing the viewer into a massive landscape\, replete with fantastical
planting and vestiges of long past manufacture\, She holds that man is nei
ther more nor less than a part of nature. Symbiotic Union\, Pliem&rsquo\;s
first exhibition in the United States\, invites us to enter a world of cons
tructive communication between a polyculture society&rsquo\;s various livin
g organisms. Although humankind is not depicted\, we\, as the viewer finali
ze the pictorial plane. There can be no doubt that the Artist&rsquo\;s view
s of nature are not naturalistic.

\n\n

When comparing works of art and
organisms\, the philosopher Wolfgang Welsch notes a possible parallel betw
een artistic and evolutionary creations. &ldquo\;We cannot take away or exc
hange some part of it without causing the most serious damage. The orientat
ion of works of art toward consistency is perfectly analog to the biotic te
ndency toward the generation of optimized entities. It is in this structura
l sense that art always emulates nature.&rdquo\;&nbsp\; Pliem&rsquo\;s canv
as construct is broken down into panels which are united through a single-c
olor palette and thread of decay and rebirth.

\n\n

Just as with symbio
tic connections between living beings from different ecosystems and regions
of the world\, the works in Symbiotic Union create a conversation between
conceptual considerations and the painterly process.&nbsp\; At a moment in
which the painting achieves dialogue with past and present concerns\, Pleim
knows the work is finished.&nbsp\; This ending process is also one that ha
ppens organically and is spurred on with the immediate beginning of the nex
t painting in the series and so on&hellip\;.&nbsp\; her world knows more th
an just one symbiotic union.

I SIT and look out upon all the sor
rows of the world\, and upon all oppression and shame\;\nI hear secre
t convulsive sobs from young men\, at anguish with themselves\, remorseful
after deeds done\;\nI see\, in low life\, the mother misused by her c
hildren\, dying\, neglected\, gaunt\, desperate\;\nI see the wife mis
used by her husband&mdash\;I see the treacherous seducer of young women\;\nI mark the ranklings of jealousy and unrequited love\, attempted to b
e hid&mdash\;I see these sights on the earth\;\nI see the workings of
battle\, pestilence\, tyranny&mdash\;I see martyrs and prisoners\;\n
I observe a famine at sea&mdash\;I observe the sailors casting lots who sha
ll be kill'\;d\, to preserve the lives of the rest\;\nI observe th
e slights and degradations cast by arrogant persons upon laborers\, the poo
r\, and upon negroes\, and the like\;\nAll these&mdash\;All the meann
ess and agony without end\, I sitting\, look out upon\,\nSee\, hear\,
and am silent.

St. John&rsquo\;s sustained commitment to
&nbsp\;observing and re-presenting experiences&nbsp\;of the everyday is fra
med in this exhibition by Walt Whitman and his groundbreaking work Leav
es of Grass\, originally published in 1855 and continually reworked by
Whitman until his death in 1892. In referencing Leaves of Grass\, St. John evokes a vision of democracy that expands beyond politics to a wa
y of life.

\n\n

In this context\, the wo
rks in the exhibition convey an acceptance of the multitude of subjectiviti
es in America\, as well as a personal responsibility to participate in the
socio-cultural realm. Connecting a lineage from the Ashcan School artists t
o Robert Rauschenberg and Andy Warhol\, St. John gathers source materials b
y casting an inclusive and penetrating gaze on the world through which he m
oves\, from billboard advertisements to the Internet. Underlying his insigh
tful and rigorous formal practice is an urgency that reflects&nbsp\;today&r
squo\;s heightened&nbsp\;state of information exchange.

\n\n

Creating palimpsests by harnessing such cultural fragm
ents as corporate logos\, handwritten lost item signs\, red-white-and-blue
political stickers\, found images of celebrities\, and spray-painted graffi
ti\, St. John draws stimulating connections that kindle new perspectives on
contemporary culture. While the construction panel paintings act as commun
icative territories of society at large\, the lamp posts foreground the voi
ce of the individual. Against the backdrop of omnipresent marketing\, St. J
ohn seeks to commemorate actual lives lived by inviting prolonged attention
to society&rsquo\;s intimate remains: an abandoned shoe\, spilled newspape
rs\, expired words.

\n\n

Employing diver
se methods to destabilize the separation between art and the world outside
the studio or gallery space\, St. John reinforces the relevance of art with
in a broader cultural discourse. In the final room of the exhibition St. Jo
hn has gathered a selection of works by other artists: Leo Gabin\, Nate Low
man\, Thomas McDonell\, Alex McQuilkin\, Lanier Meaders\, Pope.L\, Borna Sa
mmak\, Dirk Skreber\, and Andy Warhol. In the past\, exhibiting work by his
peers gestured towards the importance of dialogue\, which is a sustaining
force within a community of artists. Here\, with the inclusion of a Warhol
Brillo Box in particular\, the works appear as objets petits a&mdash\;discr
ete\, even unattainable objects&mdash\;emphasizing St. John&rsquo\;s intere
st in interrogating the value ascribed to the range of cultural artifacts.<
/p>\n\n

Coinciding with a critical moment i
n American culture and politics today\, St. John&rsquo\;s invocation of Whi
tman&rsquo\;s notion of democracy is not to suggest it has been realized\;
in the final room of the exhibition a collage titled &ldquo\;in the days of
49&rdquo\; juxtaposes a Walker Evans Depression-era photograph with an ima
ge of American model Kate Upton&mdash\;a reminder of prevailing inequality
and indifference. While evading didacticism\, St. John retains a sense of p
urpose and hope within his work. In ushering the viewer into an encounter w
ith facets of society that often elude scrutiny\, he creates a space&nbsp\;
to more critically and compassionately consider the world.

\n\n

These Days\; Leaves of Grass is Michael St. Joh
n&rsquo\;s fourth solo presentation with the gallery.Michael St.
John lives and works in Sheffield\, Massachusetts. This will be St. John
9\;s 14th solo exhibition in New York since 1990\, including an exhibition
at Karma in 2013\, for which a major monograph was concurrently published.
He has been included in numerous group exhibitions across the United States
. Along with an extensive resume of curatorships\, St. John has held severa
l teaching positions.

Mark Beard has devoted more than two decades o
f his life to researching and collecting the work of Bruce Sargeant\, a pai
nter who largely concentrated on the idealization and celebration of the ma
le form. Had Sargeant not met with a tragic and untimely death at the age o
f 40\, he may have gone on to achieve the fame and renown awarded to such p
ainters as James McNeill Whistler\, Thomas Eakins\, and Winslow Homer&mdash
\;artists to whom his style is often compared. Instead\, Sargeant&rsquo\;s
oeuvre remained relatively unknown for years until it was brought to light
by the efforts of Beard.

\n\n

The curren
t exhibition gathers canvases in which Sargeant portrays his young models i
n various private settings such as the parlor and studio\; to quasi-public
spaces including the gymnasium\; on to the field and in the great outdoors.
Mark Beard&rsquo\;s selection of a wide array of scenes reflects his great
uncle&rsquo\;s interest in men of all social echelons&mdash\;from ranchers
and people of the working class up the social ladder to sportsmen and art
collectors alike.

\n\n

Mark Beard (1956-
) was born and raised in Salt Lake City. His portraits\, nudes\, bronzes\,
and handcrafted books have been exhibited worldwide\, and he has also desig
ned more than twenty theatrical sets in New York\, London\, and Germany. Hi
s works are in numerous museum collections including the Metropolitan Museu
m of Art\, New York\; the Museum of Modern Art\, New York\; the Whitney Mus
eum of American Art\, New York\; the Museum of Fine Arts\, Boston\; the Wad
sworth Atheneum Museum of Art\, Hartford\, Connecticut\; and the Princeton\
, Harvard\, and Yale University Museums\, among many others.